issue111:inkscape
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue111:inkscape [2016/08/22 11:52] – d52fr | issue111:inkscape [2016/08/24 14:00] (Version actuelle) – auntiee | ||
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So I'll stick to pure facts: Both the inkscapeforum.com and inkscapecommunity.com forums continue to operate, each with a different subset of users (and some degree of overlap). Support requests posted to either will generally elicit a response, and there' | So I'll stick to pure facts: Both the inkscapeforum.com and inkscapecommunity.com forums continue to operate, each with a different subset of users (and some degree of overlap). Support requests posted to either will generally elicit a response, and there' | ||
- | Il apparaît que l' | + | Il apparaît que l' |
+ | les comportements et les personnalités étaient en opposition dans le monde des forums de soutien Inkscape, mais que, depuis, les choses se sont calmées ! | ||
- | Aussi, je vais m'en tenir aux faits : les deux forums inkscapeforum.com et inkscapecommunity.com continuent à fonctionner, | + | Aussi, je vais m'en tenir aux faits : les deux forums inkscapeforum.com et inkscapecommunity.com continuent à fonctionner, |
**Now, where were we...? Oh yes, filters. Let's return to the single-colored drop shadows of Part 49 to show you a simpler way to create the same effect. Previously, I introduced you to the Color Matrix primitive as a means of converting one color to another, but when all you need to do is to introduce a specific fixed color into your filter chain, it's usually easier to use the Flood primitive. | **Now, where were we...? Oh yes, filters. Let's return to the single-colored drop shadows of Part 49 to show you a simpler way to create the same effect. Previously, I introduced you to the Color Matrix primitive as a means of converting one color to another, but when all you need to do is to introduce a specific fixed color into your filter chain, it's usually easier to use the Flood primitive. | ||
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As you might have guessed from the name, the Flood primitive floods an area with color. You may now be thinking along the lines of the bucket tool in Inkscape or other graphics programs, which typically floods an area by working outwards until it hits a differently colored boundary line. But there' | As you might have guessed from the name, the Flood primitive floods an area with color. You may now be thinking along the lines of the bucket tool in Inkscape or other graphics programs, which typically floods an area by working outwards until it hits a differently colored boundary line. But there' | ||
- | Maintenant, où en étions-nous ? Ah, oui, aux filtres. Revenons à l' | + | Bon, où en étions-nous ? Ah, oui, aux filtres. Revenons à l' |
- | Comme vous pouvez le deviner par son nom, La primitive Remplissage inonde une zone avec des couleurs. Vous êtes peut-être | + | Comme vous pouvez le deviner par son nom, la primitive Remplissage inonde une zone avec une couleur. Vous êtes peut-être en train de penser à des trucs comme l' |
**Starting again with some simple text, create a filter and add the Flood primitive. With the primitive selected, use the controls at the bottom of the Filter Effects dialog to choose a color and opacity, and you should get a result something like this (note that it doesn' | **Starting again with some simple text, create a filter and add the Flood primitive. With the primitive selected, use the controls at the bottom of the Filter Effects dialog to choose a color and opacity, and you should get a result something like this (note that it doesn' | ||
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It's not very common that you'll want the output from your filter to be strictly rectangular, | It's not very common that you'll want the output from your filter to be strictly rectangular, | ||
- | En recommençant avec un nouveau | + | En recommençant avec un texte simple, créez un filtre et ajoutez la primitive Remplissage. |
- | Pas vraiment exaltant, n' | + | Pas vraiment exaltant, n' |
- | Ce n'est pas très classique d' | + | Ce n'est pas très classique d' |
**Now that we've got a colored version of the text, it's a straightforward matter to offset and blur it, before merging it with the Source Graphic – you should be adept at those steps by now, so I'll spare you a detailed description and instead present the result, a graph version of the chain, and a screenshot from Inkscape. | **Now that we've got a colored version of the text, it's a straightforward matter to offset and blur it, before merging it with the Source Graphic – you should be adept at those steps by now, so I'll spare you a detailed description and instead present the result, a graph version of the chain, and a screenshot from Inkscape. | ||
Whilst Flood provides you with a rectangle of a single color, the Turbulence primitive gives you a rectangle filled with a chaotic mix of colors. It's not strictly random, in the mathematical sense, as the output is well defined and repeatable (meaning that your filters should look the same in any renderer – although in reality that may not be the case), but, in the colloquial sense, it's this primitive that you should head for if you want to add a degree of randomness or noise to your image. It has two modes: Fractal Noise and Turbulence. The difference between them is that the latter has more “troughs” in the output, where the background shows through, giving the appearance of joined up lines running throughout the output, whilst the former has more of a cloudy appearance.** | Whilst Flood provides you with a rectangle of a single color, the Turbulence primitive gives you a rectangle filled with a chaotic mix of colors. It's not strictly random, in the mathematical sense, as the output is well defined and repeatable (meaning that your filters should look the same in any renderer – although in reality that may not be the case), but, in the colloquial sense, it's this primitive that you should head for if you want to add a degree of randomness or noise to your image. It has two modes: Fractal Noise and Turbulence. The difference between them is that the latter has more “troughs” in the output, where the background shows through, giving the appearance of joined up lines running throughout the output, whilst the former has more of a cloudy appearance.** | ||
- | Maintenant que nous avons obtenu une version colorée du texte, il y une manière directe de le décaler et de le flouter, avant de le fusionner avec la Source image - vous devriez être habitué à ces étapes maintenant, aussi je vous épargnerai une description détaillée | + | Maintenant que nous avons obtenu une version colorée du texte, il y une manière directe de le décaler et de le flouter, avant de le fusionner avec la Source image ; vous devriez être habitué à ces étapes maintenant |
- | Alors que Remplissage vous fournit un rectangle d'une seule couleur, la primitive Turbulence vous donne une rectangle rempli d'un mélange chaotique de couleurs. Ce n'est vraiment aléatoire, au sens mathématique, | + | Alors que Remplissage vous fournit un rectangle d'une seule couleur, la primitive Turbulence vous donne une rectangle rempli d'un mélange chaotique de couleurs. Ce n' |
**Whichever mode you choose, the rest of the controls remain the same. The Base Frequency sliders control how “dense” the noise appears – low values give slow, smooth transitions, | **Whichever mode you choose, the rest of the controls remain the same. The Base Frequency sliders control how “dense” the noise appears – low values give slow, smooth transitions, | ||
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You'll notice that the images are fairly pastel in tone. This is because all four channels (R, G, B, A) are calculated independently – each pixel actually consists of a combination of four pseudo-random numbers. The value of the Alpha channel will override all the others, so even if you happen to have a strong color from the RGB components, a low Alpha can knock it back to a translucent shadow of its former self.** | You'll notice that the images are fairly pastel in tone. This is because all four channels (R, G, B, A) are calculated independently – each pixel actually consists of a combination of four pseudo-random numbers. The value of the Alpha channel will override all the others, so even if you happen to have a strong color from the RGB components, a low Alpha can knock it back to a translucent shadow of its former self.** | ||
- | Quelque | + | Quel que soit le mode choisi, le reste des contrôles est le même. Les réglettes de la Fréquence de base contrôlent |
Les images suivantes montrent l' | Les images suivantes montrent l' | ||
- | Vous aurez noté que les images sont d'un ton nettement pastel. C'est parce que les quatre canaux (R, G, B, A) sont calculés indépendamment - chaque pixel consiste réellement en une combinaison de 4 nombres pseudo-aléatoires. La valeur du canal Alpha écrasera toutes les autres ; ainsi, même s'il vous arrive d' | + | Vous aurez remarqué |
**You can use a Color Matrix to extract a single channel, or to stretch the output to make it more vibrant. In this example, I've done the latter, as well as wiping out the Alpha channel entirely and replacing it with a fixed value of 1 (fully opaque). The cyan color of the original text doesn' | **You can use a Color Matrix to extract a single channel, or to stretch the output to make it more vibrant. In this example, I've done the latter, as well as wiping out the Alpha channel entirely and replacing it with a fixed value of 1 (fully opaque). The cyan color of the original text doesn' | ||
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To extract a single channel from the output, zero everything in your Color Matrix, and then populate just one of the first four columns, depending on what you want to get out. For example, setting a value of 1.00 in every field in the third column would take the 0-255 values in your Blue channel and map them to RGBA in the output. A Blue value of 63 on the input would produce (63, 63, 63, 63) – a translucent gray color – as an output. You might want to take the Alpha channel out of the equation by setting a value of 1.00 in the bottom right corner (the Fixed Value column for the Alpha output). In this example, I've used the Green channel to set only the Alpha of the output, and stretched the values a bit by using 3.00 rather than 1.00. This gives an image that runs from opaque black to transparent black, so, by Compositing it (to clip it to shape) and then Merging it with the cyan Source Graphic, it's easy to create an “electric” or “plasma” effect.** | To extract a single channel from the output, zero everything in your Color Matrix, and then populate just one of the first four columns, depending on what you want to get out. For example, setting a value of 1.00 in every field in the third column would take the 0-255 values in your Blue channel and map them to RGBA in the output. A Blue value of 63 on the input would produce (63, 63, 63, 63) – a translucent gray color – as an output. You might want to take the Alpha channel out of the equation by setting a value of 1.00 in the bottom right corner (the Fixed Value column for the Alpha output). In this example, I've used the Green channel to set only the Alpha of the output, and stretched the values a bit by using 3.00 rather than 1.00. This gives an image that runs from opaque black to transparent black, so, by Compositing it (to clip it to shape) and then Merging it with the cyan Source Graphic, it's easy to create an “electric” or “plasma” effect.** | ||
- | Vous pouvez utiliser une Matrice des couleurs pour en extraire un seul canal, ou pour étirer la sortie pour la rendre plus animée. Dans cet exemple, j'ai appliqué cette dernière, ainsi que supprimé tout le canal Alpha en le remplaçant par une valeur fixe de 1 (complètement opaque). La couleur cyan du texte original ne transparaît pas du tout dans ce cas (ce que est cyan dans le résultat vient uniquement du filtre Turbulence), | + | Vous pouvez utiliser une Matrice des couleurs pour en extraire un seul canal, ou pour étirer la sortie pour la rendre plus animée. Dans cet exemple, j'ai appliqué cette dernière, ainsi que supprimé tout le canal Alpha en le remplaçant par une valeur fixe de 1 (complètement opaque). La couleur cyan du texte original ne transparaît pas du tout dans ce cas (ce qui est cyan dans le résultat vient uniquement du filtre Turbulence), |
- | Pour extraire un seul canal de la sortie, mettez tout à zéro dans votre Matrice des couleurs, et, ensuite, valorisez une seule des quatre premières colonnes, suivant ce que vous voulez obtenir en sortie. Par exemple, en mettant la valeur 1.00 dans chaque champ de la troisième colonne, les 0-225 valeurs de votre canal Bleu seront utilisées pour remplir les RGBA de la sortie. Vous pourriez vouloir sortir le canal Alpha de l' | + | Pour extraire un seul canal de la sortie, mettez tout à zéro dans votre Matrice des couleurs et, ensuite, valorisez une seule des quatre premières colonnes, suivant ce que vous voulez obtenir en sortie. Par exemple, en mettant la valeur 1.00 dans chaque champ de la troisième colonne, les 0-225 valeurs de votre canal Bleu seront utilisées pour remplir les RGBA de la sortie. Vous pourriez vouloir sortir le canal Alpha de l' |
**You could also bring a Flood primitive into a chain like that to ensure that your result has the right color in the filter, regardless of the color of the object it's applied to. | **You could also bring a Flood primitive into a chain like that to ensure that your result has the right color in the filter, regardless of the color of the object it's applied to. | ||
Don't forget that the Base Frequency controls can be un-linked. By keeping the values close to each other, you can introduce a slight stretching or bias into the patterns, whilst separating them by some distance can result in almost horizontal or vertical lines appearing. Here's the previous filter, but with the horizontal Base Frequency set quite high, and the vertical Base Frequency at zero – the result isn't what you might usually think of as “turbulent”, | Don't forget that the Base Frequency controls can be un-linked. By keeping the values close to each other, you can introduce a slight stretching or bias into the patterns, whilst separating them by some distance can result in almost horizontal or vertical lines appearing. Here's the previous filter, but with the horizontal Base Frequency set quite high, and the vertical Base Frequency at zero – the result isn't what you might usually think of as “turbulent”, | ||
+ | |||
+ | Vous pouvez aussi ajouter une primitive Remplissage dans une chaîne comme celle-là pour vous assurer que votre résultat aura la bonne couleur dans le filtre, sans tenir compte de la couleur appliquée à l' | ||
+ | |||
+ | N' | ||
**By now you should be starting to appreciate the power and flexibility of filters. By combining a few primitives in various ways, you can quickly create complex results. Throw in a little pseudo-random chaos and you're well on your way to everything from clouds to marble, whilst Flood primitives can ensure that the important colors in your filter are independent of the objects they' | **By now you should be starting to appreciate the power and flexibility of filters. By combining a few primitives in various ways, you can quickly create complex results. Throw in a little pseudo-random chaos and you're well on your way to everything from clouds to marble, whilst Flood primitives can ensure that the important colors in your filter are independent of the objects they' | ||
One common theme between Flood and Turbulence is that they fill the filter region entirely, usually requiring a Composite operation to trim them to shape. Next month, we'll look at the last of these “fill” primitives – uncovering limitations in Inkscape along the way – then progress on to other ways to change their shape.** | One common theme between Flood and Turbulence is that they fill the filter region entirely, usually requiring a Composite operation to trim them to shape. Next month, we'll look at the last of these “fill” primitives – uncovering limitations in Inkscape along the way – then progress on to other ways to change their shape.** | ||
+ | |||
+ | Arrivés là, vous devrez commencer à percevoir la puissance et la flexibilité des filtres. En combinant quelques primitives de différentes manières, vous pouvez rapidement créer des résultats complexes. Mettez-y une pincée de chaos pseudo-aléatoire et tout vous est accessible, des nuages au marbre, alors que les primitives Remplissage peuvent garantir que les couleurs importantes dans votre filtre soient indépendantes des objets auxquels elles sont appliquées. | ||
+ | |||
+ | Un thème commun entre Remplissage et Turbulence est qu' |
issue111/inkscape.1471859550.txt.gz · Dernière modification : 2016/08/22 11:52 de d52fr